See Silva, Manuel Nunes da.
Nunes Garcia, José Maurício.
See Garcia, José Maurício Nunes.
Núñez, Adolfo
(b Madrid, 21 Sept 1954). Spanish composer. He studied music at the Madrid Conservatory (1969–84), obtaining higher degrees in guitar and composition, and industrial engineering at the University of Madrid (1971–8). He completed his musical education through lessons with Bernaola, Ferneyhough, Donatoni, Brncic, Francisco Guerrero and Luis de Pablo, and with Chowning at the Center for Computer Research in Music and Acoustics at the University of Stanford, California, receiving his Master’s degree in composition and in computer music. Since 1986 he has directed the Laboratorio de Informática y Electrónica Musical at the Centro para la Difusión de la Música Contemporánea. In 1983 he received the first prize in the Third National Competition of Polifonía Juvenil of Cuenca, and his works were performed during the International Gaudeamus Week in the Netherlands. In 1986 he won the second prize in the Paul and Hanna Competition (Stanford University). His works were also chosen for the International Computer Music Conferences in 1987 and 1991.
Núñez makes effective use of counterpoint to develop complex rhythms enhanced by skilfully contrived aggregations of timbre. He uses fractal mathematics to produce electronic sounds of great richness which often dialogue and interact with live instruments.
WORKS
(selective list)
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Incid music: Zambra 44.1 (radio play), 1993
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Other acoustic: Rondó, pf, 1980; Desmod, chbr orch, 1981; Sexteto pare siete, fl, piccolo cl, bn, vc, pf, mar, 1981; Ensayos, fl, ob, vc, pf, 1982; Siempre (3 canciones, A. Pérez Henare), mixed chorus, 1982; Variaciones, pf, str, 1982; Animación del cuadrado, fl, cl, fg, 2 perc, 2 vn, vc, 1984; Surcos, pf, 1985; Movimientos, orch, 1987
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Tape and el-ac: Anira, tape, 1984; Canales, tape, 1985; Images, Mez, hn, tpt, trbn, pf, tape, 1986; Press, tape, 1986; Cambio de saxo, s sax, b sax, tape, 1989; Es menos dos, pf, synth, 1989: Menta re, fl, pf, cptr, 1989; The Nightingales Sing, Mez, tape, 1990; Virtual, 4 vn, 2 va, 2 vc, db, tape, 1992; Jurel, tape, 1993; Utopía-A, pf, digital processors, tape, 1996–7
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Principal recording companies: Hyades Arts, RTVE Música, Unió
| WRITINGS
Nuevas corrientes musicales y las otras tecnologías: música electroacústica (Zaragoza, 1991)
Informática y electrónica musical (Madrid, 1992)
T. Marco: Historia de la música española, ed. P. Lópes de Osaba, vi: Siglo XX (Madrid, 1939; Eng. trans. as Spanish Music in the Twentieth Century, 1993)
J.R. Encinar, ed.: Música en Madrid (Madrid, 1992)
Adolfo Núñez (Madrid, 1992) [incl. list of works, bibliographical references and discography]
JOSÉ IGES
Núñez, Juan Carlos
(b Caracas, 19 Sept 1947). Venezuelan composer and conductor. He received piano lessons from Sergio Moreira, then studied at the Escuela Superior de Música José Angel Lamas in Caracas with Vicente Emilio Sojo, Evencio Castellanos, Moisés Moleiro, Inocente Carreño and Francisco Rodrigo. In 1972 he won the national composition prize with the Toccata sinfónica. In disagreement with the methodical imitation of old forms as a training tool, he abandoned his formal studies in composition, and from 1973 to 1976 studied conducting in Warsaw with Stanisław Wisłocki at the State Higher School of Music. After returning to Caracas he conducted many of the country’s principal orchestras, including the Orquesta Sinfónica Venezuela, Orquesta Filarmónica de Caracas, Orquesta Filarmónica Nacional, Orquesta Sinfónica Municipal de Caracas and the National Youth Orchestra Juan José Landaeta. Between 1982 and 1985 he lived in New York. In 1994 Núñez became professor of composition at the Instituto Universitario de Estudios Musicales. He also founded the Cátedra Latinoamericana de Composición Antonio Estévez, a programme devoted to helping young composers.
Núñez was one of the first composers of his generation to promote the practice of popular music and improvisation as part of the professional sphere of the classical composer. A good part of his activity lies in collaboration with popular singers and ensembles. His prolific output explores diverse contemporary techniques, but a rhetorical or theatrical/incidental discourse remains predominant. He has won several national prizes, although the import and influence of his music has been controversial, and his polemical stance has contributed to the re-examination of entrenched viewpoints on the teaching of composition and the role of the composer in society. His views and achievements are well represented in his Tango Cortázar (1984) for orchestra and in his opera Chúo Gil (1982–90).
WORKS
(selective list)
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Stage: Tempi latini (H. Ossott), actor, dancer, vv, sculpture, light, elecs, 1979; Chúo Gil (op, 3, A. Silva Estrada), 1982–90; Via crucis, actor, nar, soloists, chorus, orch, 1984; Música para el martirio de San Sebastián (F. García Lorca), actor, chorus, orch; Requiem a la memoria de Don Simón Bolívar; Doña Bárbara (op, 1, Núñez, after R. Gallegos); Música para los espacios cálidos (V. Gerbasi), S, 2 Mez, 2 Bar, elecs, 1993; El tambor de Damasco (op, 2, Núñez, after Y. Mishima)
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Incid music: Bolívar (J.A. del Rial); A petición del público (F.X. Krötz)
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Orch: Toccata sinfónica, 1972; Ritos solares, 1976; Org Conc., 1978; Salmo popular y doliente, 1978; Tango Cortázar, 1984; Poulet Conc., vc, orch, 1985; Double Conc., fl, vn, orch, 1986; Casablanca Conc., ob, bn, jazz ens, 1987; 3 cuadros de Anita Pantin, 1992; Poeta en Nueva York, str orch, 1991; 3 ziganes, vn, orch, 1993
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Choral: Gran Puerta de Caracas, Mez, chorus, orch, 1987; El árbol de Chernobyl (L. Velásquez), solo v, chorus, orch, 1992; Tríptico a José María Vargas (R.M. Rilke), nar, chorus, orch., 1993; Misa de los trópicos, 1994; Tríptico con poesía de Federico García Lorca, chorus
| BIBLIOGRAPHY
E. Magliano: Música y músicos de Venezuela (Caracas, 1976)
O. Marcano: Sonata para un Avestruz: una conversación con Juan Carlos Núñez (Caracas, 1988)
N. Tortolero: Sonido que es imagen… imagen que es historia (Caracas, 1996)
JUAN FRANCISCO SANS, CARMEN HELENA TELLEZ
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